One of Spacey's Accusers killed himself the day after the video was released.
On Christmas Eve, disgraced (alleged) sexual predator and former actor Kevin Spacey released a new Holiday video on his Youtube channel.
In the video, titled "KTWK" (kill them with kindness), Spacey puts on the southern lilt of House of Cards' anti-hero Frank Underwood in a supposed plea for "more good in this world." The next day, one of his accusers—Ari Behn, 47—was found dead by suicide. If Spacey had known that one of the men whom he had (allegedly) assaulted was on the brink of taking his own life, would he have thought twice about releasing that video? Would he have felt any qualms about, once again, adopting the persona of the villainous President Underwood for a sequel to last year's notorious Christmas video?
In September, the anonymous massage therapist who alleged that Spacey had forced him to grab the actor's genitals died of cancer, and resulting in charges being dropped. Spacey and his legal team had vehemently denied the accusations, and now he was off the hook. What does it say then that Spacey opens his newest video, after stabbing wildly at the fire, with the claim, "It's been a pretty good year?"
In the case of Ari Behn—the author and former member of Norway's royal family who alleged that Spacey had groped him under the table at a Nobel Prize concert in 2007—it would be irresponsible to suggest that there was anything suspicious in his Christmas Day suicide. He had spoken openly about his struggles with loneliness and alcoholism—and his fear that he wouldn't live to see his three daughters grow up—but it seems like foolish optimism to imagine that he hadn't seen Spacey's newest video. And if his isolation and alcoholism were at all tied to the trauma of his encounter with Spacey, how painful would it be to see the man responsible putting on the act of a remorseless villain? How upsetting and surreal to hear the man who (allegedly) hurt you and so many others—yet continues to walk free—imploring his viewer with an ironic smile not to openly attack their enemies, but instead to "kill them with kindness."
The video closes on that ominous line, with a stock iMovie musical sting called "Suspense Accent 07," leaving no doubt as to the intended effect. But what, other than cruelty, could be the motivation?
The character of Frank Underwood on House of Cards—before Spacey was ousted, and Robin Wright took over as the show's lead—was a man who used his cunning, his power, and his connections to avoid facing consequences for numerous crimes. More than once he killed off someone who had become a liability, and he made their deaths look like suicide. Why would a man who maintains his innocence—in the face of more than 30 accusations of sexual assault and misconduct—continue to align himself with this character whose arc is defined by evading justice? At worst, Spacey is flaunting his untouchable status. At best…what? If we assume that even one of his accusers is telling the truth, then releasing a video in which he pretends to be an impervious villain—and alludes to killing his enemies—is a heartless and horrifying act.
In February of this year Spacey's older brother, Randy Fowler, publicly called on the actor to accept responsibility for his (alleged) crimes and "take his punishment." He also expressed concern that Spacey would not be able to handle his (alleged) predation being exposed, saying, "I'm worried about him committing suicide. But then you have to think, 'Nah he's too narcissistic, he probably wouldn't do that.'" If Fowler is right about Spacey's state of mind, then a true narcissist might follow the logic of the patron saint of narcissism—Ayn Rand—who famously said before her death, "I will not die, it's the world that will end." From that perspective, even 30 suicides would pale in comparison to the tragedy of erasing the narcissist himself. From that perspective, the more Spacey can do to taunt his (alleged) victims—to make them feel helpless and hopeless—without directly implicating himself, the better.
There are probably more charitable interpretations, but if Spacey leaves this video up after the tragic suicide of Ari Behn, he doesn't deserve even that small charity. He should, of course, own up to any and all of his crimes—if he is guilty, plead guilty and face the consequences of his actions. But if he is too in denial, or too much of a coward to do that, the least he can do is stop rubbing his freedom in the faces of his (alleged) victims and their families—in the faces of every survivor of sexual assault who would rather not be reminded that sexual predators so rarely face justice.
If he is going to keep espousing his innocence in the courtroom, the least he could do is stop playing a villain in these bizarre holiday videos. And if he won't delete this video, then he isn't playing a villain at all. People's lives are on the line.
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Let's take a look at Nazi-inspired fashion.
Villains always have the best outfits.
From Darth Vader's polished black space armor to The Joker's snazzy purple suit, bad guys always seem to show up their protagonists in the fashion department.
Way more handsome than Batman. static.giantbomb.com
But could there possibly be a real world equivalent to the type of over-the-top villain fashion often found in fiction? It would have to be sleek and imposing, austere and dangerous. Probably black.
Maybe it's him. Maybe it's fascist ideology.
Let's call a spade a spade. From an aesthetic standpoint, the Nazi SS outfit is very well-designed. The long coat tied around the waist with a buckle portrays a slim, sturdy visage. The leather boots and matching cap look harsh and powerful. The emblem placements on the lapel naturally suggest rank and authority. And the red armband lends a splash of color to what would otherwise be a dark monotone. If the Nazi uniform wasn't so closely tied with the atrocities they committed during WWII, it wouldn't seem out of place at Fashion Week. Perhaps not too surprising, considering many of the uniforms were made by Hugo Boss.
Pictured: A real thing Hugo Boss did. i.imgur.com
Of course, today, Nazi uniform aesthetics are inseparable from the human suffering doled out by their wearers. In most circles of civilized society, that's more than enough reason to avoid the garb in any and all fashion choices. But for some, that taboo isn't a hindrance at all–if anything, it's an added benefit.
As a result, we have Nazi chic, a fashion trend centered around the SS uniform and related Nazi imagery.
History of Nazi Chic
For the most part, Nazi chic is not characterized by Nazi sympathy. Rather, Nazi chic tends to be associated with counterculture movements that view the use of its taboo imagery as a form of shock value, and ironically, anti-authoritarianism.
The movement came to prominence in the British punk scene during the mid-1970s, with bands like the Sex Pistols and Siouxsie and the Banshees displaying swastikas on their attire alongside other provocative imagery.
Very rotten, Johnny. i.redd.it
Around this time, a film genre known as Nazisploitation also came to prominence amongst underground movie buffs. A subgenre of exploitation and sexploitation films, Naziploitation movies skewed towards D-grade fare, characterized by graphic sex scenes, violence, and gore. Plots typically surrounded female prisoners in concentration camps, subject to the sexual whims of evil SS officers, who eventually escaped and got their revenge. However, the most famous Nazisploitation film, Ilsa, She Wolf of the SS, flipped the genders.
The dorm room poster that will ensure you never get laid. images-na.ssl-images-amazon.com
Ilsa was a female SS officer and the victims were men. She spent much of the movie wearing her Nazi uniform in various states, sexually abusing men all the while. As such, Ilsa played into dominatrix fantasies. The movie was a hit on the grindhouse circuit, inspiring multiple sequels and knock-offs and solidifying Nazi aesthetics as a part of the BDSM scene.
Since then, Nazi chic fashion has been employed by various artists, from Madonna to Marilyn Manson to Lady Gaga, and has shown up in all sorts of places from leather clubs to character designs in video games and anime.
Lady Gaga looking SS-uper. nyppagesix.files.wordpress.com
Nazi Chic in Asia
Nazi chic has taken on a life of its own in Asia. And unlike Western Nazi chic, which recognizes Nazism as taboo, Asian Nazi chic seems entirely detached from any underlying ideology.
A large part of this likely has to do with the way that Holocaust education differs across cultures. In the West, we learn about the Holocaust in the context of the Nazis committing horrific crimes against humanity that affected many of our own families. The Holocaust is presented as personal and closer to our current era than we might like to think. It is something we should "never forget." Whereas in Asia, where effects of the Holocaust weren't as prominent, it's simply another aspect of WWII which, in and of itself, was just another large war. In other words, Nazi regalia in Asia might be viewed as simply another historical military outfit, albeit a particularly stylish one.
In Japan, which was much more involved with WWII than any other Asian country, Nazi chic is usually (but not always) reserved for villainous representations.
OF COURSE. i.imgur.com
That being said, J-Pop groups like Keyakizaka46 have publicly worn Nazi chic too, and the phenomena isn't limited to Japan.
In South Korea, Indonesia, and Thailand, Nazi imagery has shown up in various elements of youth culture, completely void of any moral context. For instance, in Indonesia, a Hitler-themed fried chicken restaurant opened in 2013. And in Korea, K-Pop groups like BTS and Pritz have been called out for propagating Nazi chic fashion. Usually such incidents are followed by public apologies, but the lack of historical understanding makes everything ring hollow.
So the question then: is Nazi chic a bad thing?
The answer is not so black and white.
On one hand, seeing Nazi chic on the fashion scene may dredge up painful memories for Holocaust survivors and those whose family histories were tainted. In this light, wearing Nazi-inspired garb, regardless of intent, seems disrespectful and antagonistic. Worse than that, it doesn't even seem like a slight against authority so much as a dig at actual victims of genocide.
But on the other hand, considering the fact that even the youngest people who were alive during WWII are edging 80, "forgetting the Holocaust" is a distinct possibility for younger generations. In that regard, perhaps anything that draws attention to what happened, even if it's simply through the lens of "this outfit should be seen as offensive," might not be entirely bad. This, compounded by the fact that Nazi chic is not commonly associated with actual Nazi or nationalistic sentiments, might be enough to sway some people–not necessarily to wear, like, or even appreciate its aesthetics, but rather to understand its place within counterculture.
Ultimately, one's views on Nazi chic likely come down to their own personal taste and sensibilities. For some, Nazi chic is just a style, an aesthetic preference for something that happens to be mired in historical horror. For others, the shadow of atrocity simply hangs too strong.
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We need to change the narrative surrounding suicide.
The 18th-century writer Johann Wolfgang von Goethe wrote, "Live dangerously, and you live right."
He also wrote The Sorrows of Young Werther, a novel about a man who commits suicide after being rejected by the woman he loves. Afterward the public began noticing what was dubbed the "Werther fever": young men began emulating the character, creating a spike in suicide rates. Nowadays, we still observe the "Werther Effect," also known as suicide contagion. When a prominent figure in a community, such as a high-profile celebrity, dies by their own hand, sometimes it sets off a bizarre "cluster" of suicides. While the causes of suicide are complexly layered and diverse–though commonly attributed to mental illness, trauma, and societal pressures–the modern age of social media (dis)connection, celebrity, and Internet trolls means that mental health experts are noting concerning correlations between celebrity suicides and increased suicide rates, particularly within the insular, high-pressure world of K-pop.
"Suicide contagion is real, which is why I'm concerned about it," said Madelyn Gould, a professor of Psychiatry at Columbia University. The phenomenon accounts for people reacting to news of suicide with suicidal behaviors or persuading others to attempt suicide. The recent deaths of Korean celebrities Sulli, 25, and Goo Hara, 28, as well as actor Cha In-ha, 27, could count as a "suicide cluster." (To be clear, the exact cause of Cha's unexpected death has yet to be released, but "suicide is strongly suspected"). Before them were Kim Jong-hyun, 27, Lee Eun Joo, 24, and Lee Hye Ryeon, 25, and other actresses and pop stars. When multiple suicides occur within the same three-month period in the same location, it's considered a cluster. At this point, it's well-known that the intensive, competitive world of K-pop (and the entertainment industry, at large) has damaging effects on mental health, self-image, and personal relationships. Young children are recruited for their talent and subjected to arduous training, pushed to meet unrealistic (and unhealthy) expectations and rigid schedules, in addition to being subject to callous public scrutiny online.
Added to that is the conservative culture of Korea, where suicide rates continue to rank among the highest of all developed nations. Strong stigma and taboo against mental illness persist in Korea. "The blame lies with South Korean society in general," said Ryu Sang-ho, a neurologist at Haedong hospital in Busan. "Many people with mental health issues are reluctant to take medication for fear of being seen as weak-minded. Mental health problems should be treated in the same way as a common cold. South Korean society needs to catch up."
Additionally, strong patriarchal values still set back Korea's gender equality. In 2018, South Korea was found to have "one of the thickest glass ceilings in the world" in regards to gender discrimination. Korea ranked 30th out of 36 nations evaluated by the Organization of Economic Co-operation and Development (OECD), and the World Economic Forum ranked Korea 115th out of 149, illuminating its gender gap in terms of wage equality and earned income. Ryu added, "South Korean society is holding on to the idea that men must be respected and women are not deserving of respect, or at least not much. The media feed off that, so it's no surprise that the public don't have any sense of empathy towards these women."
So K-pop idols are caught in a terrible nexus of patriarchy, capitalism, regressive stigmas, and the dehumanizing disconnection of media, as K-pop's global takeover is largely attributed to streaming culture and the international reach of YouTube. But with such immense online popularity comes publicity problems. Christine Moutier, the chief medical officer at the American Foundation for Suicide Prevention, points out that news of an idol's suicide can particularly influence the public because "it's different from any other cause of death. When someone dies of cancer or heart disease or AIDS, you don't have to worry about messaging it wrong."
Indeed, The New York Times notes in "The Science Behind Suicide Contagion" that "publicity surrounding a suicide has been repeatedly and definitively linked to a subsequent increase in suicide, especially among young people. Analysis suggests that at least 5 percent of youth suicides are influenced by contagion." One study looked at the public's suicide rates following 98 celebrity suicides and noted a slight but consistent increase in the immediate months afterwards. In particular, the American Foundation for Suicide Prevention found that suicide contagion may increase due to: media coverage involving graphic details or images of grieving loved ones, repetitive reporting of the suicide, explicit description of the method of suicide, and dramatized–or even romanticized–accounts of the death as a form of escape from societal pressures or personal struggles.
Unless we as a global society can fix the plagues of online trolls, tabloid exploitation, and the money-grubbing capitalist machines known as record labels, our only recourse is to change the narrative surrounding suicide. Researchers urge the public and the press to focus on prevention resources and mental health services, such as The National Suicide Prevention Lifeline, 1-800-273-TALK (8255), the free, 24-hour service providing support, information, and access to other resources to people experiencing suicidal ideation or anyone who thinks they know someone experiencing suicidal thoughts. While we're grappling with the Werther Effect worse than ever before, we should also remember that Goethe wrote, "Correction does much, but encouragement does more." We need to–and we can–shed the pitfalls of Korean culture, with its glittery, high-tech veneer of perfection, with self-destructive habits at its core.
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